


Mother's Day

by Pigeonsplotinsecrecy



Category: 9-1-1: Lone Star (TV 2020)
Genre: 126 is family, Action/Adventure, Carlos is a cutie, Carlos' family - Freeform, Drug Addiction, F/M, Family Dynamics, Father-Son Relationship, Gen, I needed more lone star, M/M, Screenplay/Script Format, Team as Family, hiatus is keeping me busy
Language: English
Status: Completed
Published: 2020-05-13
Updated: 2020-05-13
Packaged: 2021-03-02 23:41:58
Rating: Not Rated
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 9,794
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/24155266
Author URL: https://archiveofourown.org/users/Pigeonsplotinsecrecy/pseuds/Pigeonsplotinsecrecy
Summary: My low quality version of a season 2 episode before season 2 comes.
Relationships: (all of them) - Relationship, Carlos Reyes & Grace Ryder (9-1-1 Lone Star), Carlos Reyes/TK Strand, Grace Ryder/Judd Ryder (9-1-1 Lone Star), Judd Ryder & TK Strand, Marjan Marwani & TK Strand, Mateo Chavez & Marjan Marwani, Michelle Blake & Carlos Reyes (9-1-1 Lone Star), Paul Strickland & Marjan Marwani, Paul Strickland & TK Strand
Comments: 6
Kudos: 41





	Mother's Day

**Author's Note:**

> This is formatted oddly on here, but oh well. That's life.

TEASER

FADE IN:

INT. A SMALL APARTMENT- NIGHT

ELLA EVANS, a twelve-year-old child, is pounding at a door. Tears streak her face, which is scrunched up in layers of worry that no one that young should have.

Ella's mom, MAGGIE EVANS, is locked in her room, which is disheveled with paper thrown all over the place. Maggie is pacing with a frantic look in her eye, struggling to keep her emotions in check. She is startled by the sound of the pounding. At the noise, Maggie pauses her pacing and looks to the door.

MAGGIE

(desperately)

Go to your room, Ella. I need to think

Maggie lightly hits her head repetitively with the palm of her hand in frustration.

ELLA

Just let me in, Mom. Please. It's okay.

MAGGIE

(getting louder)

No, no. I can't do that. I just need time to think. Give me time to think!

ELLA

(begging)

Let me see that you're okay first.

Maggie continues her pacing, and when Ella gets no response, she pounds at the door with even more force. Maggie responds by pounding the other side of the door.

MAGGIE

Leave me alone!

ELLA

(Softly, voice sounding childish in contrast to her normal too-mature--for-her-age voice)

You have to let me in.

Maggie begins to sob and slides down the wall, her legs jiggling anxiously.

MAGGIE

(Tearfully)

I don't want to hurt you.

Maggie fists her hands unconsciously, her jaw clenched. She takes a breath, but it does nothing to alleviate the tension. For a few moments, she is quiet, and Ella holds her breath.

MAGGIE

I'm so angry, and I don't want to hurt you. I don't want to be that kind of mother.

ELLA

(Like she's talking to a child)

You've never hurt me before.

MAGGIE

But I might. I might, and I would never forgive myself if I hurt you.

Maggie is back on her feet pacing again. Ella cries, but she wipes the tears away. Maggie begins to slam her foot against the bed frame. Ella is too familiar with this behavior.

ELLA

Let me help. I'm not a little kid anymore. I can help you!

MAGGIE

(Sounding resigned)

No one can help me. I'm sorry, Ella Bella. I'm just so tired.

Ella closes her eyes and puts her head against the door.

ELLA

(frustrated)

It's okay. Just open the door!

Maggie cries out. Ella's head is still against the door. The sound of glass breaking causes Ella's head to shoot up.

MAGGIE

I'm very tired Ella, and it hurts so much. I want to sleep.

Maggie is standing but swaying on her feet.

The shift in Maggie's tone confuses and terrifies Ella, who has never seen her mother quite like this before.

ELLA

Mom? Are you okay?

MAGGIE

I don't know. I think something's wrong with me.

Maggie crumbles sinks to the floor, her body going horrifically still.

ELLA

What's wrong?

Maggie doesn't answer. Ella bangs the door again.

ELLA

Mom? Mom! Answer me! Please, tell me that you're okay. Mom! Mom!

The 911 SOUND WAVE GRAPHIC comes on the screen and the DIAL SOUND commences. The words of the call appear as they are said. GRACE RYDER is the 9-1-1 operator taking the call.

GRACE (V.O.)

9-1-1 What's your emergency?

Ella tries to keep her voice calm, but Grace can hear that she's young and terrified.

ELLA (V.O.)

I think my mom is dead!

9-1-1 LONE STAR title screen.

END TEASER  


* * *

ACT ONE

FADE IN:

EXT. ELLA'S APARTMENT BUILDING - NIGHT

CARLOS REYES' police car rolls up to the curb of the apartment complex. He and his coworker, RHODA SHEPARD,an older woman with a soothing voice and easy going personality, get out of the car. They walk towards the apartment labeled 105 with a wreath on the door.

OFFICER SHEPARD

This is the second domestic disturbance we've responded to this evening. Think there's something in the water?

Carlos shrugs, face not giving away how anxious he is feeling. Domestic calls always put him on edge.

CARLOS

Let's just hope that no one gets violent. I thought that last guy was going to do something stupid.

Carlos and Shepard arrive in front of the door.Shepard points to the door.

OFFICER SHEPARD

You can do the honors, Reyes. I was going to get punched in the stomach earlier.

Carlos gives a dry laugh, but his brow is furrowed. He isn't as laid-back as Shepard.

CARLOS

(Playing along)

Can't take a hit, Shep?

OFFICER SHEPARD

You know I can, Reyes, but that doesn't mean I want to, especially when I'm paired with six feet of solid muscle.

Carlos shakes his head at his partner, and then, knocks at the door. The apartment is quiet.

OFFICER SHEPARD

It's pretty quiet based on what the neighbors were saying.

CARLOS

Which makes me nervous.

OFFICER SHEPARD

Me too.

He knocks again and waits impatiently. There are cracks in his cool facade. Finally, Ella answers the door. She's small for her age, but Carlos can tell that she's dealt with a lot in her lifetime. She has those eyes of a kid who's been dealt too much responsibility. He knows that look well.

ELLA

You're here to help my mom?

CARLOS

Yeah, we want to help her and make sure that you're both okay. Do you think we could talk to your mom?

Ella shakes her head.

ELLA

She's the reason I called. Something's wrong with her.

Officer Shepard and Carlos shared a puzzled look.

OFFICER SHEPARD

(to Carlos)

I'm going to check with dispatch and see what's going on.

Carlos nods in response, and turns his attention back to the girl.

CARLOS

Is there anyone else home?

ELLA

Just me and her. It's always been just me and her. That's why I need you to make sure she's okay. She's all I have.

CARLOS

We're going to do what we can, okay?

Carlos ushers her to a bench.

CARLOS

For now, I need you to stay here while we go see if we can help your mom. Can you do that?

ELLA

Yeah, okay. Just help her, please.

Officer Shepard returns. She and Carlos step away from Ella.

OFFICER SHEPARD

A 9-1-1 call was recently made about Maggie Evans, a 46-year-old female. Maggie's daughter, Ella, reported that her mother was upset and then became unresponsive. It's unclear whether she's hurt. Fire and medical have been dispatched. They should be here soon.

CARLOS

Until they get here, let's see if we can get a response.

OFFICER SHEPARD

Let's do it.

Carlos and Shepard enter the house. They look around the small apartment, which is clean and organized unlike the mess in Maggie's room. He pounds on the door.

CARLOS

Maggie Evans, this is Austin P.D. Can you hear us?

There's no response. Carlos knocks on the door again. Again, there's no answer.

CARLOS

We've got to bring the door down.

OFFICER SHEPARD

Fire and Rescue will be here soon.

Anixety is building on Carlos' face.

CARLOS

We don't have time.

Shepard sighs, but nods, holding her gun up.

OFFICER SHEPARD

Kick it in, Reyes.

Carlos looks nervous. He's never had to kick a door in while on a call before, but he knows how to do it in theory, and if he can't, he knows Shepard could, but she was giving him the chance and he didn't want to mess it up.

The 126 firefighters- OWEN STRAND, TK STRAND, PAUL STRICKLAND, MARJAN MARWANI, MATEO CHAVEZ, and JUDD RYDER-and paramedics, MICHLLE BLAKE, NANCY GILLIAN, and TOM ROSEWATER- enter the scene. Carlos is too focused on the door to notice them. He swings back his leg, ready to kick the door in, but is stopped by the familiar voice of TK and a hand to his shoulder.

TK

(smirking)

Woah, slow down, tough guy. We have a battering ram for that.

Carlos pivots around as TK waves the battering around for Carlos to see. Carlos gestures toward the door.

CARLOS

(Looking at T.K. nervously)

Have at it.

TK readies the battering ram.

TK

It's been a while since I've done this.

A dark glimmer flashing through his eyes, Owen grabs the battering ram from TK's hands, his face looking uncharacteristically wrinkled.

OWEN

And you won't be using it.

Owen hands the battering ram to Marjan.

OWEN

Marjan, lets see how well you can knock down doors.

TK rolls his eyes, but he knows it's not the time to protest.

Marjan salutes Owen.

MARJAN

Aye, aye, Captain.

Carlos has his gun drawn. He's not planning on shooting anyone, but they don't know what they're dealing with, and he's not taking any chances.

Owen knocks on the door.

OWEN

Austin Fire and Rescue!

The quiet is startling.

OWEN

Okay, let's get in there, Marjan.

Marjan takes the battering ram and swings it back and forth for momentum a few times before finally making contact with the door, and giving them access to Maggie, who is in a heap on the floor. There's shards of glass around her. She's perfectly still but propped up against the bed.

Michelle rushes in to check on the woman, Nancy and Tim ROSEWATER trail in behind her, carrying medical supplies. Maggie looks lifeless, but her eyes are wide open.

MICHELLE

Ms. Evans? Can you hear me? I'm here to give you help. Ms. Evans? Can you tell me what's wrong?

The paramedics check the woman over, checking her ABCs. A thoughtful look appears on Michelle's face.She's trying to find out what is wrong with Maggie, but nothing adds up.

MICHELLE

(To her team)

She's non-responsive, but her pulse is strong, and her breathing is steady. I'm not sure why she won't answer.

Nancy and Tim look equally puzzled at what is happening.

NANCY

What do you think is wrong?

Michelle shines a light in Maggie's eyes.

MICHELLE

I don't know.

Michelle has an idea. She takes Maggie's arm and pulls it up so that it is held straight out in front of her at a ninety degree angle. Michelle releases Maggie's arm. The arm doesn't fall. Michelle's face fills with understanding.

MICHELLE

It's catatonia.

The paramedics nod in understand.

TIM

Does she have schizophrenia?

MICHELLE

Could be but not necessarily.Either way, she seems physically stable and mostly unharmed, but we'll get her to the hospital and monitor her vitals. They can do a mental health check at the hospital. For now, there's not much more we can do other than monitor her.

(To Maggie)

Okay, Maggie. We're going to get you to the hospital, and they'll check you out there. We'll make sure you're okay. You're daughter too.

The paramedics load Maggie onto the gurney. On the way out, they wheel her past Carlos, who is still in the hall. Carlos is staring, his eyes still frozen even when the woman is gone. TK bumps him on the shoulder playfully, but there's a seriousness in his eyes.

TK

Hey, you okay?

Carlos nods his head slowly.

CARLOS

Yeah, yeah. I'm okay.

But the haunted look doesn't leave his face.

EXT. REYES RESIDENCE - DAY

Carlos knocks on the door looking nervous. He's in casual clothes. He looks relieved when the door cracks open and a young man appears, his brother, GABRIEL REYES. Gabriel is nineteen and he's easy going in all the ways Carlos is serious. Gabriel's carefree nature puts Carlos on edge.

Carlos has always needed to be responsible while Gabriel wants to be young and free.

Gabriel is grinning at his brother.

GABRIEL

Carlos? What are you doing here? And why are you knocking? You're family. You know that you can walk right in.

CARLOS

I don't live here anymore, Gabe.

GABRIEL

You're still family, bro.

Gabriel points his hand towards the interior of the house.

GABRIEL

Come on in.

Carlos shakes his head.

CARLOS

I'm not here to stay.

Gabriel steps out onto the porch, some enthusiasm dropping from his face. He closes the door behind him.

GABRIEL

I was hoping this was a social visit. Mama misses you.

CARLOS

How's mama?

GABRIEL

She's not here if that's what you're wondering.

CARLOS

She has book club today.

GABRIEL

You remembered.

CARLOS

Yeah, I just wanted to check and make sure that you and David are okay.

GABRIEL

(Uncharacteristically annoyed)

We're fine without you, Carlos. You don't need to check in every five seconds an then find a million excuses why you can't come to family dinner. It's been three weeks since you've been here.

CARLOS

You know that I work a lot.

GABRIEL

Gloria works a lot too, but she still makes it around. Josie is in Dallas and she still makes it home more than you do. She'll be here this weekend. Will you?

Carlos ignores what his brother has said. He sticks to business. He can't let himself get too emotional or he's afraid that he'll lose his cool.

CARLOS

Has Mama been okay lately?

Gabriel shrugs.

GABRIEL

Nothing major has happened. Her new meds have been helping her a lot. They finally found ones that don't make her feel too itchy or too numb or too tired.

CARLOS

That's good.

Gabriel sits in a chair on the porch, and Carlos sits next to him.

CARLOS

I'm sorry that I'm not around as much as I should be.

Gabriel looks apathetic.

GABRIEL

It's fine. It's not like we need you anymore. Me and David are in college, the girls have both graduated college. Mom's stable, so while we don't need you to take care of us anymore, it'd still be nice to have you around.

CARLOS

I'll always be responsible for you.

GABRIEL

Is that why you don't come home? You feel too responsible?

CARLOS

It's not like that.

GABRIEL

You're mad at mom.

CARLOS

Have you ever seen me getting mad at mom? For the nineteen years that you've known me, have I yelled at her?

Gabriel thinks about it for a few seconds. Then,he shakes his head.

GABRIEL

It's kind of crazy that you haven't. I know I get so mad at her sometimes.

Carlos laughs darkly, thinking about all the anger Gabriel used to have, back before he'd mellowed out.

CARLOS

You were a real brat when you were fourteen.

GABRIEL

Can you blame me? Our childhood wasn't easy.

CARLOS

You can't be mad at someone for being sick.

GABRIEL

(sarcastically)

We're all not like you, Carlos. Most people can't control who they're mad at.

Carlos ruffles Gabriel's hair.

CARLOS

One psychology major in the family is bad enough. Now, you think you can get in my head too. After just one semester!

GABRIEL

Don't worry, no one can get through that thick skull. Freud wouldn't even be able to do it. Well, actually, Freud was a piece of shit misogynist who didn't know anything about the mind, but you get my point.

CARLOS

I'm not mad at mom.

GABRIEL

You keep saying that.

Carlos looks at his watch.

CARLOS

I have to go. It's getting late, and I promised a friend that I'd have dinner with him.

Gabriel snickers childishly. There's a teasing expression on his face.

GABRIEL

A date kind of friend?

Carlos hesitates.

CARLOS

We're taking it slow. Don't tell anyone what I've just told you. They'll never leave me alone about it. Mama will want to meet him, and he's not ready for that.

Gabriel zips his lips.

GABRIEL

I won't tell a soul.

Carlos stands up, patting his brother on the back.

CARLOS

I'll come by to see mama soon.

GABRIEL

We're having dinner on Sunday. Josie is coming in. Glo is cooking. I know her cooking isn't a selling point, not like yours, but Mama will watch to make sure she doesn't do anything too crazy.

CARLOS

I mailed a card and some flowers.

GABRIEL

And she'll think you're the world's greatest son for them, even when she hardly ever sees you.

CARLOS

I work.

GABRIEL

All day?

Carlos doesn't answer.

GABRIEL

That's what I thought.

CARLOS

I'll try to swing by when I get off.

Neither of them seem to believe what Carlos is saying is true.

GABRIEL

I won't tell Mama that you were here.

CARLOS

Thanks.

GABRIEL

It's not for you. I just don't want to break her heart when she's doing so well.  
  


INT. COLT'S GRANDPARENTS' HOUSE

TK is holding the battering ram. He's about to break down the door. He swings back and forth while counting down.

Finally, he slams into the door. He sees COLT holding a gun, and hears the shot. It takes him a few moments to realize that he's been shot, but he doesn't fall.

Suddenly,he's standing where Colt was just before the door opened. He's holding the gun in his hands, and as the door slams open, he sees blurred face and without thinking, he shoots. Realizing what he's done, he rushes over to the person he just shot. The face is clear now, and when he looks at the face, he sees that it is Owen.

TK recoils in horror, but after his initial shock, he tries to revive Owen. He begins CPR, but his hands are shaky and he struggles to do what he needs to do alone.

TK

Help! Someone help me!

Michelle appears, looming behind him. TK is startled by her appearance.

MICHELLE

(eerily soft)

I could save his life, but there would be no point because I can't save him from you.

TK

(pleading)

Do something! You can't let him die.

MICHELLE

And you can't let him live.

TK looks at his dad, and when he looks back up, Michelle is gone, and TK realizes that Owen cannot be saved, but he is desperate. He's not going to quit yet.

TK

Dad, dad! I'm sorry. I'm so sorry. Please wake up. You have to be okay. I can't do this without you.

There's silence. TK's incoherent. He continues fruitlessly giving CPR. Carlos appears in the room. He's wearing his police uniform.

CARLOS

It's time to go, Tyler Kennedy.

TK is caught off guard. He tries to speak, but he can't.

Carlos pulls TK to his feet, away from owen. TK resists. When he tries to speak, nothing comes out. Finally, he finds words.

TK

You can't take me away! I need to save him.

CARLOS

You can't save him. He's dead. We need to go.

TK

Go where?

Carlos dangles his handcuffs between them. He is oddly amused by the whole situation.

CARLOS

(Laughing)

To jail. Where else would we take you?

TK

It was an accident. Please, just let me save him. I just need more time.

CARLOS

All you do is ruin lives, TK. That many screw ups can't be an accident.

TK

I'm sorry. Don't do this, Carlos. I need to help him.

But Carlos doesn't listen. He cuffs TK, and shoves him toward the door. As they go by Owen's body, Owen shoots up, and grabs T.K.'s arm. His face is pale and decaying. He looks like a zombie.

OWEN

Don't forget that you did this to me, son. You're the reason. I've got a hole in my chest.

TK

I didn't mean to do it. Dad, I swear--

But Owen has already slumped back to the ground, as dead as ever.

Carlos pulls TK into the hallway, where the 126 has lined up. They laugh at and jeer TK. Their voices are muffled, and their faces blur in and out of focus.

JUDD

I knew not to trust the captain's kid.

MATEO

You should've been the one to die.

PAUL

Don't think I never noticed what a freak you are.

MARJAN

Why didn't you die when you had the chance?

Carlos escorts TK out of the house, and by the police car, TK's mom, GWYNETH STRAND is waiting, arms are crossed.

TK

Mom? What are you doing here?

GWYNETH

(smug)

I've always known you'd end up in prison. I did my best, but some kids are just born bad. I wish I hadn't wasted eighteen years on a disappointment.

TK is taken back, and doesn't know what to say. When the camera returns to where Gwyneth was, she has disappeared.

CARLOS

(Coldly)

You can't stall the inevitable forever, TK.

TK hears the jingling sound of a dog's collar.

He looks over and BUTTERCUP the dog comes running down the sidewalk. When he gets to TK he begins to growl. The 126 has returned again, standing around TK and they're laughing again. Buttercup lunges at TK to attack him.

INT. TK'S BEDROOM - NIGHT

TK shoots up in his bed, breathing heavily. His face remains troubled. He becomes very fidgety, unable to keep his mind from he dream he'd just had.

He flips on the light and plays a game on his phone instead of going back to sleep.

END ACT 1

* * *

ACT 2

INT. FIREHOUSE 126 - EVENING

The team is working, wiping down the fire truck and making sure that everything is in working order. Marjan is extra enthusiastic, humming as she works while Mateo is lagging.

TK notices that Marjan is more bubbly than normal. He flashes a curious smile

TK

What's got you so excited, Marwani?

MARJAN

My mom just got in yesterday. She flew in so we can spend some time together. Just in time for mother's day. I thought it would be the first one I spent without her.

TK

Come to think about it, this is my first mother's day out of New York. Not that I always good about celebrating when I was there. I haven't always been the best son.

JUDD

Somehow, that doesn't surprise me.

Judd cracks a smile.

JUDD

Believe it or not, I was always the perfect son.

Paul shakes his head in disbelief.

PAUL

We know about the time you set your playhouse on fire when you were all of seven-years-old.

Marjan, Paul, and TK laugh. Mateo focuses intently on cleaning the underside of a handle on the truck's door. He spends an unusual amount of time on it.

JUDD

Ya'll don't get to talk to my wife anymore.

TK

Grace would probably scold you for being so inhospitable.

JUDD

Big words, city boy.

Marjan spots Mateo, who is still polishing the door handle.

MARJAN

(jokingly)

I think it's clean enough, Probie.

Mateo looks at Marjan, says nothing, and goes back to polishing the handle. The team shares worried, questioning glances. They look to Paul for answers. Paul shrugs, not being any more knowledgable about what's wrong with Mateo.

Marjan puts steps a little closer to Mateo.

MARJAN

Mateo, are you okay?

MATEO

(snappily)

I'm just trying to do my work, unlike you.

Mateo throws his cleaning cloth down, and turns to walk away.

JUDD

Where are you going?

MATEO

I need to go feed Buttercup.

Marjan moves to go after him. Paul grabs her shoulder to hold her back.

PAUL

I think he just needs a little space. Sometimes, people are better off with a little time by themselves.

MARJAN

I just hope that he's okay.

INT. A FORMAL LIVING ROOM - DAY

A woman, ANGELA FISHER, who is in her late sixties and a pushover, and her two grown sons, CHAD and THAD, who are both in their early thirties, are in the living room, standing close together in confrontation. The room is full of knick knacks. It is eccentric but a bit stuffy. You can feel the tension between Chad and Thad. Angela looks helpless. She is a small, frail woman.

Thad holds up a chicken purse.

THAD

My gift is clearly better. Ma loves chicken.

Angela tries to step between her sons, but they've gotten too close, just two inches away from each other now.

CHAD

Yeah, fried chicken! Not a damn chicken purse.

ANGELA

Boys!

Chad points to a fishing rod in the corner.

CHAD

Ma, isn't my gift so much better?

THAD

A fishing rod is what you want. Not Ma. Hate yo tell you this Chad, but it's her birthday, not yours.

CHAD

It's the gift of a new hobby. We can do it together.

ANGELA

Boys! Stop it!I love both gifts!

Neither man hears her. Chad pushes Thad.

ANGELA

Stop it please!

CHAD

You think you're so much better than me.

Thad pushes back.

THAD

No, that's what you think.

CHAD

You idiot!

THAD

You moron!

Their scuffle intensifies. Angela tries to stop the physical altercation by pulling them apart. Thad pulls his arm back to punch his brother, but he knocks his mother's head instead. Angela falls back, hits a table. A decorative figure falls on her and shatters.

Thad and Chad watch in shock as blood pools on her face above her eyebrow. For the first time in maybe years, they are silent.

CHAD

Oh my god dude, you cut her with your razor sharp elbow.

THAD

She cut her head on the shard of broken glass you moron, and you're the one that pushed my razor sharp elbow into her face.

CHAD

Oh my god. That's a of blood.

Blood is dripping down Angela's face.

9-1-1 OPERATOR

9-1-1, What's your emergency?

THAD

It's my mom! She was impaled by a cat figurine!

CHAD

(distantly) Idiot, it's a raccoon!

EXT. A NICE NEIGHBORHOOD - DAY

The 126 pulls up to the house and rushes out with supplies in hand. The paramedics pull up after them and quickly catch up at the door.

Owen knocks on the door

MARJAN

(To Paul)

What are your senses telling you?

Paul looks around, spots a fish statue that has been dressed in a raincoat.

PAUL

I think we're in for a weird one.

MATEO

Have we ever had a normal one?

MARJAN

Good point, Probie.  
  


Chad answers the door. He speaks before anyone else can get a word in.

CHAD

Finally, you're here. My brother's trying to stop the bleeding, but he'd sooner stop cheating on his wife than do anything helpful for Ma.

Chad holds up a broken racoon figure.

CHAD

See, it's a racoon. That is a raccoon, ain't it?

Marjan tries not to laugh. She shares an amused look with Paul.

OWEN

Sir, we don't have all day. Would you show us where your mother is?

CHAD

Yeah, sure right this way. We better get there before my brother kills her. I had two years of peace before Ma brought that lunatic into my life. He's been causin' trouble ever since.

INT. A FORMAL LIVING ROOM - DAY

Chad brings them to the living room, where Thad is pressing a doily to his mothers head.

THAD

Thank god you're here. The wound won't stop bleeding.

CHAD

Because you're trying to stop it with a holey piece of cloth. I swear, there's a hole in your head.

THAD

It's called a dolly, you neanderthal.

JUDD

(deadpan)

Actually, I think the technical term is doily.

Chad and Thad look at each other, for one moment they are in synch. They laugh.

CHAD

A doily!

THAD

I know! What a stupid name to call a thing.

ANGELA

(Looking pained and embarrassed)

BOYS

(to the paramedics)

Really I'm fine. It's just a little cut.

Angela laughs.

ANGELA

I raised two rough-housing boys. I've been through a lot worse.

Michelle concentrates on the wound, and checks for symptoms of concussion. She spots the way that Angela is clutching at her wrist.

MICHELLE

Your head is fine. They bleed a lot, but the cut isn't that deep. What I'm worried about is your wrist.

Michelle carefully picks up Angela's wrist to get a closer look. Angela winces.

ANGELA

I don't want to make a fuss.

Michelle puts a reassuring hand on her shoulder.

MICHELLE

I can't be sure, but it looks like a distal radial fracture, so she'll need an x-ray.  
  


Thad looks to Chad for clarification.

THAD

A distool radish what?

CHAD

Ask them, Thad. I'm not a doctor how would I know what that means.

NANCY

That means we think she has a broken wrist, so we're going to have to take her to the hospital.

THAD

The hospital? Look what you've done Chad.

CHAD

Me? You're--

Owen steps between Chad and Thad.

OWEN

(To Chad and Thad)

Hey, why don't you two tone it down. It's hard to work when there's fighting going on.

Chad and Thad bristle but quiet.

MICHELLE

Can you walk? Or do you want us to take you out on the stretcher.

ANGELA

Goodness, no. I won't leave like that. The neighbors would never let me live it down if you wheeled me out.

The paramedics help Maggie up and lead her to the door.

THAD

Wait! Ma, you never answered. Which of us gave the better gift?

Chad glares at Thad.

CHAD

Show a little respect. We both know mine was better.

As the crew walks away, the brother's arguments become distant and hard to hear.

THAD

You always do this. You're not better than me.

CHAD

I am.

THAD

You aren't.

CHAD

You're an idiot.

THAD

You're a moron.

TIM

(to Nancy)

A trip to the emergency room will be the best thing that happens to her all day.

  
They're outside now.

CHAD

(From inside the house) I'm not the one who ruined Ma's dolly.

NANCY

Maybe all year.

END ACT 2

* * *

ACT 3

FADE IN:

EXT. HOMELESS CAMP - EVENING

Michelle has come to see her sister IRIS BLAKE. She come to visit this place often. People are talking loudly, but Michelle can't make out any conversations. Iris is next to Michelle, huddled in a ball. She's chewing on gum.

MICHELLE

It's mother's day Sunday, you know.

Iris' eyebrows raise.

IRIS

It's hard to believe it's May already. What day is it now?

MICHELLE

Thursday, my love.

IRIS

I've been here a while.

MICHELLE

You could come home for a day or two. Sleep in a nice, clean bed. Mom would love to see you.

Iris starts to shake her head, looking more nervous.

IRIS

The Ones wouldn't like it. I shouldn't even have you here. They like distance.

Michelle puts a hand on Iris', trying to console her in any way that she can.

MICHELLE

I know, but don't you think you could come home for just one day?

IRIS

No, no I can't. Chewing gum is dangerous enough.

MICHELLE

I'll make sure you're safe. Like I did when you were a kid. Remember that? Remember when I helped you when you got bitten by that snake?

Iris looks away from Michelle. She's getting angrier and antsier.

IRIS

(yelling)

No, Michelle! It's not safe. You can't make me go!

MICHELLE

No, no shh. I'm not going to make you do anything.I just thought it would be nice.

IRIS

It would, but The Ones want me here, so I have to stay here. They'll tell me if they want me to leave, but right now, They need me here.

Iris's eyes don't meet Michelle's. She's become distant, staring at the space in front of her.

IRIS

(laughing uncontrollably)

I miss mom's cake. But They wouldn't like it.

Michelle can't help but laugh.

MICHELLE

I don't think anyone's claimed to like mom's cake before.

IRIS

Except Daddy.

MICHELLE

He always said that he didn't mind burnt edges.

Iris smiles. She scoots a little closer to Michelle.

IRIS

(hushed)

I have a secret.

MICHELLE

Yeah?

IRIS

I really like having you here

Michelle gives a half smile.

MICHELLE

I'm glad I could be here.

IRIS

What would you be doing if you weren't here tonight?

MICHELLE

I'd be out drinking and dancing with my crew, probably. I'm much better off here.

IRIS

(seriously)

You shouldn't stop having fun because of me.

MICHELLE

There's no place I'd rather be than with you.

INT. A HONKY-TONK

Loud country music is playing.

Judd and TK are playing darts, leaving Grace and Carlos alone with their drinks. Grace and Carlos sit awkwardly. Grace looks more at ease than Carlos.

Judd and TK are clearly bickering over the game. Grace shakes her head.

GRACE

They sure are competitive, those two.

Carlos grins fondly, looking over at TK celebrating a good turn and gloating about it to Judd, who doesn't look pleased.

CARLOS

At least they're over the hating stage of their relationship. You should've heard the way he talked about Judd on our first date.

Grace smiles.

GRACE

And you wanted a second date after that?

CARLOS

TK has a way of making you love him.

GRACE

Oh, yeah. He's part of the family now.Judd was just as pigeheaded when he talked about TK at first. Look at them now though, as thick as thieves. They're both stubborn, but I think they've come to realize they're more alike than different.

Carlos sips his drink nervously.

CARLOS

I'm pretty stubborn myself.

GRACE

You have to be when you're with a person who thinks with their passion. I learned that real quick.

CARLOS

As my mom always says, a person with a heart on their shoulders sometimes needs to borrow a level head.

GRACE

She sounds like a wise woman.

Carlos takes a drink.

CARLOS

She is. She has five children, so she has to be.

GRACE

Are ya'll gettng together this Sunday?

Carlos shrugs. He withdraws a little.

CARLOS

My siblings are. I probably won't be able to make it. Work's been keepeing me busy.

GRACE

Seems to me that work isn't the problem.

CARLOS

You're perceptive.

GRACE

I don't mean to overstep, but listening to people talk all day, you get an idea of what they're saying between the words. I sometimes forget that I'm not on the job, I guess.

CARLOS

You use that skill on Judd a lot?

GRACE

(chuckling)

I don't need to. He's as easy to read as a picture book. You're not so easy to read, Officer.

CARLOS

Don't get me wrong. I love my family. I love my mother.

Grace immediately understands.

GRACE

They're just a lot sometimes.  
  


Carlos nods.

CARLOS

I'm the oldest boy, so my role changed a lot when my dad passed. My mom had a hard time, and there wasn't much I could do to help her.

GRACE

It's hard being that responsible so young. I had to help my daddy out a lot when my mama got cancer. She got better, fortunately, but it feels pretty helpless sometimes.

CARLOS

It sure does. I never thought I did enough to help her.

GRACE

I'll bet you did plenty. Seems like your dad would be awfully proud.

Carlos looks unconvinced.

CARLOS

It was nothing. Now, I barely even go see her.

Grace is about to respond when TK giddily bounds over, Judd lagging behind him. TK throws his arm over Carlos' shoulder and kisses Carlos on the cheek happily.

Carlos can't help but smile.

CARLOS

I'm guessing you won?

JUDD

(grumbling) He cheated!

TK

How would I cheat at darts?

CARLOS

He also cheats at monopoly.

TK

Whose side are you on?

CARLOS

Judd's.

TK

Grace, you better watch out. I think my boyfriend is trying to steal your husband.

JUDD

Nah, you don't have to worry about that. We're just starting a "TK is Cheats at Games" support group.

CARLOS

Sign me up!

They all laugh.

END ACT 3

* * *

ACT 4

FADE IN:

EXT. A HOUSE WITH A BIG TREE IN THE FRONT - DAY

A family, CRIS WILSON, her husband, JAY, both in their late twenties, and their daugther MONIQUE, eight-years-old, are arriving home. Monique is ahead of them, dressed as a princess, spinning in the yard.

JAY

(to Cris)

Your parents always give her too much candy.

CRIS

She's just playing.

JAY

You know how she gets on sugar.

CRIS

She becomes the most hyperbolic child this side of the equator.

JAY

(laughing)

Where I come from, they call it being a drama queen.

They get up to the porch, open the door, and their cat, Periwinkle, races out of the house. They try to catch him, bumping into each other as they do, but before they can get the cat, he rushes up the tree.

MONIQUE

(screaming) Periwinkle! No!

Periwinkle sits in the tree looking unbothered.

Jay and Cris share a nervous look, unsure of how to handle the situation.

JAY

He'll come down on his own, won't he?

Cris nods uncertainly.

CRIS

I think so.

MONIQUE

No! He's eight hundred feet in the sky! We have to do something dad! Periwinkle is an indoor cat. He's not used to trees.

CRIS

He'll be down, honey.

Periwinkle climbs to a higher branch, and then sits patiently.

MONIQUE

You have to do something! He's going to die! He's going to die, and you're not doing anything!

The 911 SOUND WAVE GRAPHIC comes on the screen and the DIAL SOUND commences. The words of the call appear as they are said.

GRACE

9-1-1, What's your emergency?

CRIS

(awkwardly)

Hi, um, well, my cat got stuck in our tree...

EXT. A HOUSE WITH A BIG TREE IN THE FRONT - DAY

The 126 firefighters arrive at the house and get out of the vehicles.

OWEN

Where is he?

MONIQUE

(Dramatically)

Help us! Hurry! He's going to die! He's eight million feet in the air!

Cris looks tired.

CRIS

Monique, calm down. He's not going to die. He's just afraid to come down.

Cris leads the firefighters over to the tree. Owen looks up, lightly amused.

OWEN

You know, suprisingly, we don't usually get calls like this. Good thing it's been a slow day.

JUDD

We did have that baby in the tree, Cap.

OWEN

This situation is a bit less dire.

CRIS

(apologetically)

I'm sorry about this,really. I don't even know how he got up there.

OWEN

Don't worry, Ma'am. We'll handle this.

(to his team)

TK and Marjan, get the ladder.

TK and Marjan get the ladder and put it up to the tree.

TK and Marjan look up.

TK

(amused)

That's not a cat.

They look up, and they spot Jay sitting in the tree, clinging onto a branch with terror in his eyes.

Monique has snuck up behind TK, she taps him with her wand and he startles at her shrill voice.

MONIQUE

(giggling)

No, that dummy is my dad!

CRIS

(embarrassed)

Monique, get over here. The firefighters are trying to work.

MONIQUE

You're no fun!

But she complies and heads over to her mother, spinning in circles as she does.

OWEN

Paul, you're up. Let's get him down.

Paul climbs up the ladder, and helps Jay climb down the ladder until he's safely on the ground.

Jay rushes to family, and they briefly hug, and Monique is putting a protection spell on her dad.

While all this is happening, Mateo looks unamused compared to the rest of the team, who are all amused and a smiling.

MARJAN

What's with you lately?

Periwinkle rushes past Mateo. Mateo sneezes.

MATEO

I really hate cats.

Jay rushes past, chasing after Periwinkle. Mateo sneezes.

Paul nudges Mateo.

PAUL

(jokingly)

And apparently men stuck in trees too.

Mateo doesn't laugh.

Perwinkle is back to sitting in the tree.

EXT. A TABLE BY A FOOD TRUCK - DAY

Carlos is wearing his uniform, sat across from Michelle. He's taking his lunch break. Carlos is silent and is playing with his food.

MICHELLE

What's up with you?

CARLOS

Just the usual. I've been working a lot. I'm tired I guess.

MICHELLE

That isn't just your exhausted face. Though, you do look exhausted. Want to talk about what's really wrong?

CARLOS

It's just stuff with my family.

MICHELLE

How's your mom doing?

CARLOS

Pretty well, I think. She hasn't been bad for a while. She seems happy.

MICHELLE

So what's the problem?

CARLOS

I've been blowing her off lately.

MICHELLE

Oh?

CARLOS

And I feel bad for avoiding her.

MICHELLE

Why are you?

He sighs.

CARLOS

I don't know.

CARLOS

How's Iris?

MICHELLE

Ah, a not-so-subtle change of subject. Don't worry, I won't make you talk. Iris is the same. I just wish there was more than I could do than buy her some gum and sit with her.

CARLOS

It never feels like you can do enough.

MICHELLE

Is that how you feel about your mom? Maybe that's why you've been keeping your distance. It can feel suffocating to be in that position.

CARLOS

We're talking about you.

MICHELLE

Before that, we were talking about you. That's how conversations work.

CARLOS

Being around my mom shouldn't feel like a burden.

MICHELLE

It doesn't mean you love her any less. Some relationships are just more emotionally draining than others.

CARLOS

I know I need to talk to her, but I don't want to say anything that makes her worse again. I know she already feels guilty enough.

MICHELLE

You can't make someone better, Carlos, and you're not ever responsible for her depression.

CARLOS

I don't know, Michelle. I just--

Carlos' phone goes off. Carlos' sister JOSIE is calling him.

CARLOS

(To Michelle )

It's my sister. I have to take this.

(To Josie)

Jo? What is it? I have to be back at work soon. I can't. Can't you handle it? No, you know I'd never do that. It's fine. Really, Josie, it's fine. I'll be there as soon as I can. Yeah, okay. Bye. Love you too. See you soon.

MICHELLE

Something serious?

CARLOS

Family stuff. Josie only just got in and David apparently did something stupid.

MICHELLE

Doesn't he always?

CARLOS

Yeah. Sorry that I have to go.

MICHELLE

You don't have to solve all the problems in your family.

CARLOS

I think we've both proved that we can't help ourselves when it comes to family.

Michelle waves him off.

MICHELLE

I'll see you later. Give your family my love.

END ACT 4

* * *

ACT 5

FADE IN:

INT. REYES RESIDENCE - DAY

Carlos hurries into his mom's house, not bothering to knock this time. He goes to where Josie and the twins have gathered in the living room. His mom is nowhere to be found. Everything looks fine. They're laughing and playing a video game.

Carlos' face and shoulders are tense. He looks around to try to figure out what has happened.

Josie rises to her feet upon seeing her brother and throws her arms around him in a hug.

JOSIE

(excitedly)

It's so good to see you.

CARLOS

Jo, what's wrong?

JOSIE

Oh, yeah. David got into a little car accident.

Carlos turns to David. Anger and worry are mixing together. Gabriel is looking between them, uncertain which side to take.

CARLOS

You did what? You're not hurt are you? Is the car okay? Mama's going to lose it if it's broken.

Josie steps in the defend David.

JOSIE

It's not that big of a deal. No one was hurt. The car was barely even scratched. But he hit Mama's St.Francis statue with the car.

Carlos' concern turns into sheer anger, but he restrains himself.

CARLOS

You told me... Why the hell am I here if nothing is wrong? Where's Mama?

GABRIEL

She's not here.

CARLOS

Of course, she's not! You three are all adults. Josie, you live by yourself in a whole different city. You don't need to call me for every minor screw up.

DAVID

We didn't know what to do.

CARLOS

What did you think I would do about it?

JOSIE

We thought maybe you could break the news to Mama.

CARLOS

It's a statue! Act like adults and tell her what happened.

GABRIEL

That's not the part we're worried about.

DAVID

We're worried that she might react badly.

CARLOS

She may be upset, but you know her, she's not going to hold it against you.

JOSIE

(anxiously)

Yeah, but you know how she gets. Little things can set her off. You're the best at calming her down.

CARLOS

It's just a staue.

Josie rolls her eyes, looking at Carlos like he's an idiot.

JOSIE

Yeah, and it was just a pie when she dropped the pumpkin pie on Thanksgiving and didn't come out of her room for five hours.

CARLOS

Gabe, you said that she was doing better.

GABRIEL

How many times have we seen her get better only for her to get worse again?

CARLOS

I can't deal with this right now. I have to get back to work. I'm already going to be late as it is. Doing things like this could get me fired.

Carlos turns away from his siblings, trying to get to the door before they can stop him.

David grabs onto Carlos' arm.

DAVID

Carlos, wait.

CARLOS

You can't just call me away from my job for every little thing. I need to go. I'll see you later. Call me if something actually important comes up.

Carlos doesn't wait for a response. He speeds out of the house, slamming the door behind him.

INT. FIREHOUSE 126 - KITCHEN - NIGHT

Mateo is cleaning the firetruck alone while the rest of the team gathers for a meal. Paul and TK are setting the table. Marjan is giving Buttercup his meal. Judd and Owen are in the kitchen preparing the meal.

PAUL

Where's Mateo? Food's almost ready.

MARJAN

He's been polishing the truck obsessively whenever he gets a spare a minute.

JUDD

Something's up with that kid.

OWEN

He's been sneezing ever since that run in with that cat.

MARJAN

Yeah, but he was acting weird before that.

OWEN

Why don't you go check-in on him. See if he needs an ear for listening.

Marjan nods in response.

MARJAN

I'll see if I can get him to come to dinner at the very least.

INT. FIREHOUSE 126 - GARAGE - NIGHT

Marjan comes in to find Mateo. She is immediately concerned by his state. He's still obsessively polishing the handles on the firetruck.

MARJAN

You should come to dinner.

Mateo doesn't even look up at her.

MATEO

I'm fine.

Marjan grows more concerned.

MARJAN

Probie, you're usually not such a gray cloud.

Mateo finally meets Marjan's eyes, and Marjan steps a little closer.

MATEO

(snapping)

Can't someone have a bad few days?

MARJAN

Do you need to talk about it?

MATEO

No.

He's starting to relent. He pauses for a second.

MATEO

Maybe.

Marjan nods.

MARJAN

Okay, so what's up?

Mateo takes a deep breath.

MATEO

My mom got deported last year.

There's a pause.

MARJAN

Oh. Mateo, I'm so sorry. That's awful

MATEO

And so I keep seeing moms everywhere, and I miss her more than ever.

MARJAN

Yeah, I can see that would upset you. Moms are kind of inescapable.

Mateo's eyes become glassy.

MATEO

I just miss her.

MARJAN

I miss mine even though she visits a lot.

MATEO

That's the worst thing. There's no chance of me seeing her- maybe ever. If I leave, I'm not going to be able to get back in, and Austin is the only home I've known. I don't want to live anywhere else.

Marjan puts a gentle hand on his shoulder.

MARJAN

That really sucks.

MATEO

I still talk to her a lot, but it's not the same.

MARJAN

Yeah, seeing a person through a screen sometimes only makes you want to see them in-person even more.

MATEO

I wish I could hug her.

A tear rolls down Mateo's face and then more are streaming down. Marjan takes his hand, and sits with him queitly as he lets all his feelings out.

INT. CARLOS BEDROOM - NIGHT

Carlos and TK are lying in Carlos' bed togehter, cuddled up against each other. Their bare chests stick out past the sheets.

TK turns over on his side towards Carlos.

TK

I'm glad you were up when I texted.

CARLOS

Why were you up at 3 am, anyway?

TK deflects the question.

TK

Just couldn't sleep. What were you doing up?

CARLOS

Thinking.

TK nods sympathetically.

TK

That's always dangerous. What's got you thinking so hard?

CARLOS

Mother's day.

TK

Did you forget to get her a present?

TK yawns.

CARLOS

That's not it.

Carlos himself yawns.

CARLOS

I'm afraid of what will happen if I go back there and see her.

TK looks bewildered.

TK

What do you mean?

CARLOS

That house brings back a lot of memories. Few are plain bitter, but most are bittersweet.She's been doing well, and I'm afraid that I won't be able to keep my anger under control anymore. Is that crazy?

TK shakes his head.

TK

When you're in the middle of a storm, you have to hold yourself together because you can't afford to fall apart, but when the worst of it is over, and you have time to think,that's when all the feelings start to bubble up.

"GOOD NEWS" by Mac Miller begins playing.

CARLOS

Yeah, exactly. I've been living on edge for so long that now that I can breathe, I keep feeling so angry when I look at her, even though none of it was her fault.

TK

You can't avoid her forever.

CARLOS

I know. My family is just a mess.

TK laughs.

TK

They all are. Like mine. I've been afraid to call my mom. I keep thinking she won't answer or that she'll be disappointed in me.

CARLOS

Is there a reason you think that?

TK shrugs. He clearly knows the answer, but he's hesitant to say. He still has trouble opening up, but it's easier in the late night/ early morning hours.

TK

I had a dream that she hated me. Well, everyone did, but her hate hurt the most.

CARLOS

Why's that?

TK

I guess when I was a kid I got used to her being the one I knew would be there. She was required to be. It's different now that I'm an adult. She doesn't have to stick around anymore. Parents are complicated.  
  


CARLOS

They're more complicated when you're an adult.

TK

(drowsily)

Yeah

TK's eyes drop closed and he snaps them back open. Carlos chuckles.

CARLOS

We should sleep. You look exhausted, and I feel exhausted.

TK

Goodnight, Carlos.

Carlos leans in to kiss TK.

CARLOS

Sweet dreams, TK.

There's a montage of TK and Carlos tossing and turning in different positions on the bed.

Carlos turns over and tries to sleep his eyes are wide awake. He looks at the clock. It is 4:00 am. Meanwhile, TK is on his back eyes looking like they've been glued open, staring at the ceiling.

Carlos forces his eyes closed, but opens them almost immediately. He looks at the clock. It's still only 4:01 am. TK fidgets. His hands are fidgeting the most. He almost falls asleep, but he forces his eyes open. He's afraid to sleep.

The clock reads 4:13. TK flips over so he's turned away from Carlos. Carlos turns over so that he's spooning TK.

The clock reads 4:37. TK is now spooning Carlos. They're both still awake.

The clock reads 4:54. TK is back to being on his back. Carlos is back to being on his side, turned to the clock. He is staring at it. He watches the clock turn to 4:54.

Carlos rolls over so that he's on his back. Him and TK both stare at the ceiling. They turn their heads to face each other. TK rolls towards Carlos. Carlos rolls towards TK.

They stare at each for a few seconds.

"GOOD NEWS" BY MAC MILLER FADES. The scene becomes very silent.

CARLOS

(whispering)

How do you feel about insomnia pancakes?

TK

I prefer insomnia waffles, but I'll take them if you make them.

CARLOS

My mom's recipe will make you team pancakes.

TK

You're really hyping them up. You better not be all talk.

Carlos flips on the light. They both squint at the light. They look dead tired, but there are smiles on their faces.  
  


CARLOS

You know I'm a man of my word.

TK gives a flirtacious look, leaning in for a kiss. He speaks when he's just an inch from Carlos' face.

TK

And a man of action.

TK presses his lips to Carlos. Carlos indulges in the kiss for a few moments before pulling away.

CARLOS

Even your sweet lips can't distract me from pancakes.  
  


END ACT 5

* * *

ACT 6

FADE IN:

EXT. HOMELESS CAMP - DAY

Michelle and her mother, THERESA BLAKE walk over to Iris' tent. They carry some supplies for her. Michelle clutches a few packs of gum.

Theresa looks on edge, but Michelle is more accustomed to the camp. They come to the tent, and Iris is there, eyes clear and bright. She jumps up to hug her mother, hugging tightly.

THERESA

My beautiful, girl. It's so good to see you.

IRIS

Hi, mom. It's been a while.

THERESA

Much too long.

Theresa runs a hand through Iris' hair, holding on to her child while she can.

Michelle looks at her mom and sister, and she can't help but smile. Iris pulls Michelle into the hug.

IRIS

Get in here.

MICHELLE

It's so good to be together again.

Iris puts her mouth close to Theresa's ear.

IRIS

Did you bring your cake?

THERESA

Yes, Iris. I brought cake.

MICHELLE

And gum. Lots of gum.

Iris smiles broadly.

EXT. COVERT PARK - DUSK

TK is on top of Mount Bonnell, sitting on a rock. He holds his phone in his hand, readying himself to make the call. The sun is begnning to set. He punches in the number and waits for a response.

GWYNETH (V.O.)

Hello? TK? Is that you?

TK

It's me. I just called to say happy Mother's Day.

GWYNETH (V.O.)

It's nice to hear your voice.

TK

Remember when we used to go to Bennett Park?

INT. BENNETT PARK - DAY

GWYNETH

(fondly, laughing to herself)

I remember. It used to be your favorite because it was the highest natural point of Manhattan.

COVERT PARK

TK

You used to take me there when I needed cheering up. After I got my braces on. Or when Dad missed my third grade planets play when I was Jupiter. It always made me happy there.

BENNETT PARK

GWYNETH

I still go there sometimes when I'm missing you.

COVERT PARK

TK looks surprised.

TK

You miss me?

BENNETT PARK

Gwyneth laughs.

GWYNETH

Of course, I do. It's not easy for mothers when their sons grow up and go far away.

COVERT PARK

TK

(guiltily)

I didn't mean to leave you.

GWYNETH (V.O.)

You didn't leave me. You left New York. I travel a lot for work, any way. I'm barely here.

TK

What I mean is that I wasn't trying to choose sides.

BENNETT PARK

Gwyneth's face softens in understanding.

GWYNETH

I don't feel abandoned, Tyler.I'm happy here, and you were doing what you needed to do to be happy. As long as you're happy and healthy, I don't care if you're in Texas or on the moon.

COVERT PARK

TK

I'm sorry for being a bad son.

BENNETT PARK

GWYNETH

Don't talk like that. You'll always be my best son.

COVERT PARK

TK sighs in relief. He chuckles.

TK

(half joking, half serious)

You really mean that?

GWYNETH (V.O.)

More than anything.

INT. MARJAN'S APARTMENT - NIGHT

Marjan is preparing a meal with her mother, MARYAM. Thy're working in the kitchen side by side. They add the finishing touches and begin to set the table.

MARYAM

When are your friends getting here?

Marjan puts a bowl down on the table. There's a knock at the door. Marjan laughs.

MARJAN

I bet that's them.

Marjan answers the door to see Paul and Mateo. Paul is holding flowers. Mateo has brough some cookies.

MARJAN

Come on in, guys. Make yourselves at home.

Marjan points to her mom.

MARJAN

This is my mom, Maryan. Mom, Paul's the one with flowers, and Mateo's got the cookies.

Maryam offers a handshake to each of them. Paul hands over the flowers to Maryam, and Marjan takes the cookies from Mateo.

MARYAM

It's nice to meet you both. I'm glad Marjan has found her people down here. I was worried.

MARJAN

I've always been good at making friends.

MARYAM

A mom still worries!

PAUL

We're lucky to have Marjan.

MATEO

Yeah, she's helped us all a lot. I don't know if I would've passed the firefighter's exam if she hadn't.

Maryam puts a gentle arm on Mateo's arm.

MARYAM

From what Marjan told me, you're success was all your.

Marjan looks proud.

MARJAN

You'll learn pretty fast that my mom is always right.

MARYAM

It's good to keep in mind that us Marwani women usually are.

INT. HOME AND GARDEN SHOP - DUSK

Carlos walks into the store, looking a little lost. He wanders for a while, looking at all the lawn gnomes, but he doesn't find what he wants. Eventually, he goes up to a cashier, a middle-aged woman who looks bored.

CARLOS

You wouldn't happen to have a St. Francis lawn statue, would you? I've been to three stores and no one's had one.

CASHIER

(confused)

I don't know who that is.

Carlos opens his phone pulls up a picture to show her what he means. He turns the phone to her.

CARLOS

Something like this.

CASHIER

Oh, you mean those monks with all the animals. We keep those in the back of the store with the gazing balls. Don't ask me why.

CARLOS

Thank you, ma'am. I appreciate it.

Carlos goes to walk away and the cashier looks at her watch.

CASHIER

We actually closed a minute ago.

Carlos freezes in his tracks. His face falls. A smile appears on the cashier's face.

CASHIER

All I'm saying is that you better hurry so that I can ring you up.

Carlos smiles back.

EXT. COVERT PARK - DUSK

"MOTHER" by KACEY MUSGRAVES begins to play.

The sky is more purple than blue now. T.K. Continues to talk to his mother. He's smiling and gesticulating happily. His words are inaudible, but he's looking at the sky as he talks, enjoying the call and the sights around him.

INT. MARJAN'S APARTMENT - MIDNIGHT

Marjan, Maryam, Mateo, and Paul are sitting around the table. Mateo has Marjan's iPad perched against a bowl that's not empty. His mom is on the screen. Everyone is laughing and chatting inaudibly. Mateo pulls Marjan aside for a moment.

MATEO

Thank you for this.

MARJAN

I know it's not the same as her being here...

MATEO

Thank you all the same.

EXT. REYES RESIDENCE - EVENING

Carlos carries a St. Francis statue up the sidewalk, balancing it delicately in his arms. He clutches it in his one hand as he knocks on the door. His mother, ANA REYES opens it and doesn't even let him put the statue down before she pulls him into a big hug.

ANA

My son! You're home.

CARLOS

Yes, Mama, I'm home.

The song fades, and the final shot is Carlos in his mother's arms, St. Francis nestled between them.

THE END

**Author's Note:**

> I hope someone enjoyed this. Thanks for reading!


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